Fashionability, Exhibition Culture and Gender Politics: Fair Women

Description

Cover Half Title Series Page Title Page Copyright Page Table of Contents List of figures List of plates Preface Acknowledgements Part I The Exhibition Chapter 1 Exhibiting Fair Women Fair Women in the Grafton Galleries The Committee The Exhibition ‘Novelty’ and Loan Exhibitions (Re)Viewing Fair Women: Parody and Ornament Notes Chapter 2 ‘Feminine Weapons’: Women, Collecting and Connoisseurship Fashionable Objects: Jewels Fans to Footwear Miniatures Collectors and Fair Women Women and Collecting ‘Robbed of Their Chief Ornaments’: Philanthropic Citizens and the Market Notes Part II Modern Fair Women Chapter 3 Performing the Modern Woman: Actresses, Celebrity Culture and Exhibitions ‘Fair Women in Painting and Poetry’ The Modern Actresses: Fashionability and the New Woman Lillie Langtry Sarah Bernhardt Ellen Terry Notes Chapter 4 (Re)Envisioning New Women: Eveleen Myers and Gertrude Campbell Eveleen Myers: A ‘Fair Woman’ behind the Lens Myers’s ‘Fair Women’: Imperial, Intellectual and Political Networks ‘Winsome, but Ultramodern’: Gertrude Campbell Self-Fashioning and the New Woman Notes Part III Fair Women Redux Chapter 5 Reinventing Fair Women: Women, Exhibitions and Art Writing  Cataloguing ‘Fair Women’ Transatlantic Fair Women Woman’s Exhibition 1897 and 1900 Collecting Objects: Establishing Expertise Notes Chapter 6 International Fair Women: The Edwardian Revival 1908–1910 Reviving Fair Women Fair Women Reconfigured at the New Gallery New Women and Femme Fatales in 1908 Fair Women 1909: Nostalgia, Orientalism and Modernism Nostalgic Self-Fashioning and Silk ‘Gypsy Gioconda’ and a ‘Persian Augustus John’ ‘A Dream of Handsome Men’ and ‘A Suffragette’s Wish’ The Return to the Grafton Galleries in 1910 ‘The Bravura of the Décolleté’: The Reception of Modern Portraiture Notes Epilogue Notes Bibliography Index